University of Huddersfield Repository Sfetcu, Andrei Approaching Forms and Structures in Electronic Dance Music Original Citation Sfetcu, Andrei (2018) Approaching Forms and Structures in Electronic Dance Music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34829/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. 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The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 Table of Contents Abstract 4 List of Submitted Works 5 Introduction 6 1. Research Context 7 Definitions and Cultural Aspects 7 Rhythmic Analysis and Perception 8 Patterning and Sections 10 Production Methods 11 2. Case Study: Nicolas Jaar 13 Sound 13 Creative Approach 14 3. Composition Commentary 18 Overview of my compositional methods 18 “Sufi Train (Lounge Mix)” 19 “Sufi Train (Club Mix)” 21 “Drips” 23 “SarabaFlip” 25 “Loop No. 2” 27 “LatCrunch” 29 “BDLW” 31 4. Discussion and Conclusion 33 Bibliography 34 Discography 37 Word Count: 10,303 3 Abstract This research deals with the development of forms and structures in Electronic Dance Music from a producer-composer’s approach. The thesis is first concerned with several theoretical notions involved in the study of rhythms and structure, such as embodiment, trance states, groove, repetition and variation, metrical processes, tension and release, entrainment and spontaneity. The research questions are answered through a practice-based research approach, with the theoretical ideas discussed informing the practical side of the study. The research also explores the works and practice of electronic producer Nicolas Jaar in the form of a case study. The author investigates several structuring principles common to Electronic Dance Music as well as different production methods through a portfolio of seven original compositions with an accompanying commentary. The study explains what the aim of an effective structure in Electronic Dance Music is and how the author has used several processes and methods to achieve a spontaneous approach to producing. 4 List of Submitted Works Sufi Train (Lounge Mix) 4:08 Sufi Train (Club Mix) 6:36 Drips 11:24 SarabaFlip 2:25 Loop No. 2 6:33 LatCrunch 5:48 BDLW 8:52 Total Length 45:45 5 Introduction This thesis investigates the structuring principles behind Electronic Dance Music (EDM) pieces. It focusses on the compositional considerations involved in the development of functional and effective EDM structures. It does so from a producer-composer’s perspective, through seven original compositions and an accompanying commentary and analysis. The project is first concerned with the aim of EDM structures, what they are trying to achieve. It questions the notions of trance, how and if such altered states can be triggered through music. This project also inquires on the relationship between repetition and variation and their role in the development of tension and release in EDM tracks. The issue of spontaneity in composition is also considered, as well as the role that improvisation might play during the process. Finally this project asks how I can compose tracks which appeal to both an interacting crowd of dancers and the home listener, how it can bridge the gap between “track” and “song” (Eshun, 2000, p. 78). This project’s methodology is focused on practice-based research, informed by several authors’ work in the field of EDM analysis, most notably Butler (2006), Zeiner-Henriksen (2010) and Danielsen (2010). I approached the subject by first gaining insight into the existent research in the domain of musical rhythms and forms. This preliminary research informed my compositional methods as I included or adapted the ideas discussed. This further allowed me to draw conclusions from the practical aspects and develop several compositional approaches. The practical side of the project was inspired by the ideas of Brian Eno, Nicolas Jaar and several producers from the Detroit house scene, such as Theo Parrish. The nature of this submission is a CD portfolio of original compositions with an accompanying commentary dealing with the formal concepts supporting the submitted pieces. The first section of this thesis deals with the theoretical Research Context, starting with cultural, physiological and ethnographic considerations, before analysing the different rhythmic constructions, from the micro (grooves and loops) to the macro levels (patterns and sections). The research also briefly deals with rhythm perception and analysis. The second section is a Case Study of Nicolas Jaar’s approaches to production, as his work is particularly influential to this project, not only aesthetically, but also in terms of bridging the gap between the club-orientated and the home- listening aspects of EDM. The third section is a track-by-track commentary of the original compositions, focussing on the different processes, influences and formal considerations. The thesis ends with a brief discussion and conclusions. 6 1. Research Context Definitions and Cultural Aspects The term EDM has come to encompass a wide variety of different styles, such as house, techno, jungle and ambient, yet they all feature common characteristics which define the genre (Butler, 2006, pp. 32-3). A prominent characteristic is repetition, as the pieces, or tracks, are built around the repetition and variations of smaller musical fragments, or loops. These loops are rhythmic in nature. Drums and percussion are at the foreground, while the harmonic and melodic elements (if any) also tend towards a rhythmic function, shorter riffs and patterns being preferred to larger phrases and movements. The focus of EDM is more on rhythmic development, rather than the harmonic and melodic development usually present in Western popular and art musics. The lower end of the harmonic spectrum is also emphasised, with particular attention brought to the kick drum (usually marking every beat, in a four-to-the-floor style) and the bass instrument, which, more often that not, constitute the driving force in the arrangements (ibid. p. 91). These characteristics all work towards a common goal, which is to incite the listener into dancing. The environment in which the music is generally consumed, be it clubs or festivals, as well as its medium (large loudspeaker systems, emphasising the volume and the bass frequencies of the tracks) are also determining factors. Indeed, as Gilbert & Pearson (1999, p. 45) note, the corporeal nature of music is accentuated by the settings. A dancer at an event not only hears the music, but also feels the vibrations resonating throughout their body, implying an embodied response to the sounds. The relationship between music and dance yields further physiological effects on the crowd. Indeed, many ravers recount having experienced altered states of consciousness while on the dance floor: feelings of total bliss or ecstasy; disappearance of the notion of ‘self’ and the ego; and an enhanced feeling of unity and social connection with the rest of the crowd. Gilbert & Pearson suggest that this state is similar to Roland Barthes’ notion of “jouissance” (1999, p. 64-5). From an ethnographic perspective, the cultural environment of EDM can be viewed as a ceremony, or ritual whose purpose is attaining the trance state. The notion of trance has been thoroughly discussed by Gilbert Rouget (1985), and his theories have been compared to the effects perceived by ravers and clubbers (Rietveld, 1998; St John, 2004; Till, 2010; Zeiner-Henriksen, 2010). Rouget states that there is no causal relationship between music and achieving trance states, attributing the phenomenon to the cultural expectations surrounding the trance ritual. He notes, 7 however, some characteristics of the music present at trance ceremonies. For instance, the music may be relatively loud and feature heavy rhythmic repetition. Drums seem to be unanimously preferred, although again, there is no clear relationship between the instrument and the triggering of trance.